cheese

On my scale, 8 is a book to keep buying every month. 7 is one to keep buying as long as the money is there. 6 is one to drop, not because it is horribly bad or anything, but because it just doesn't interest me.

If this didn't have Darwyn Cooke art, I would have graded it a 6. If it had better inking, I'd have graded it 8.

It's not that I think Palmiotti and Gray are poor writers, it's that their work just doesn't grab me. In the opposite vein, I don't care for Country music, yet I really like Shania Twain (even before I found out what she looks like) and the Dixie Chicks.

I've recently become allergic to much of the inking done by computer. Few inkers make it look natural (meaning how it's been for my entire life, thankyouverymuch; am I becoming too curmudgeonly?), and it's starting to nauseate me. Cooke's inking here looked too something for me. I'm guessing computer inking looks great on a computer screen, but I don't read comics on a computer.

As to the story, I found it to be too long, perhaps necessitated by the thinking that it had to be longer because it was an "anniversary" issue. Much of the "Hex kills 50" (also a nod to the issue number?) was merely filler to get to the page length.

Girl getting pregnant and running from the father was too much Beatrix & Bill for me.

And the much ballyhooed "outhouse cannon scene" took me out of the story. You see, a reader willingly suspends disbelief in order to let a story work. Anything that disturbs that suspension risks losing the reader. Such was the refrigerator scene in Indiana Jones IV. Took me right out of the movie. I was willing to let it go that someone might survive a blast inside a lead-lined refrigerator, but not the sailing through the air bit. He would have died from the force of the sudden acceleration or the sudden stop. (BTW, do you know why they pushed that movie as Indy IV? Because at his age, Harrison Ford needed an IV after every strenuous scene.)

Such was the cannon scene. There is just no way that you could sneak a cannon that close without making so much noise as to tip off any-and-every person in the area that you are doing so. Too. Much. Noise. Took me right out of the story.

cheese

On my scale, 8 is a book to keep buying every month. 7 is one to keep buying as long as the money is there. 6 is one to drop, not because it is horribly bad or anything, but because it just doesn't interest me.

If this didn't have Darwyn Cooke art, I would have graded it a 6. If it had better inking, I'd have graded it 8.

It's not that I think Palmiotti and Gray are poor writers, it's that their work just doesn't grab me. In the opposite vein, I don't care for Country music, yet I really like Shania Twain (even before I found out what she looks like) and the Dixie Chicks.

I've recently become allergic to much of the inking done by computer. Few inkers make it look natural (meaning how it's been for my entire life, thankyouverymuch; am I becoming too curmudgeonly?), and it's starting to nauseate me. Cooke's inking here looked too something for me. I'm guessing computer inking looks great on a computer screen, but I don't read comics on a computer.

As to the story, I found it to be too long, perhaps necessitated by the thinking that it had to be longer because it was an "anniversary" issue. Much of the "Hex kills 50" (also a nod to the issue number?) was merely filler to get to the page length.

Girl getting pregnant and running from the father was too much Beatrix & Bill for me.

And the much ballyhooed "outhouse cannon scene" took me out of the story. You see, a reader willingly suspends disbelief in order to let a story work. Anything that disturbs that suspension risks losing the reader. Such was the refrigerator scene in Indiana Jones IV. Took me right out of the movie. I was willing to let it go that someone might survive a blast inside a lead-lined refrigerator, but not the sailing through the air bit. He would have died from the force of the sudden acceleration or the sudden stop. (BTW, do you know why they pushed that movie as Indy IV? Because at his age, Harrison Ford needed an IV after every strenuous scene.)

Such was the cannon scene. There is just no way that you could sneak a cannon that close without making so much noise as to tip off any-and-every person in the area that you are doing so. Too. Much. Noise. Took me right out of the story.

Son of Stein

Over a week I've been waiting to get my hands on this book, and before I even took my coat off from biz trip I was opening my Box-O-Comics and digging out Hex.

I've never missed an issue and truly thing Gray & Palmiotti are doing some of the very best work in all of comics with this series - and as great as they've been, they've stepped it way up with this issue.

Son of Stein

Over a week I've been waiting to get my hands on this book, and before I even took my coat off from biz trip I was opening my Box-O-Comics and digging out Hex.

I've never missed an issue and truly thing Gray & Palmiotti are doing some of the very best work in all of comics with this series - and as great as they've been, they've stepped it way up with this issue.

Review Grouper

It's late I know
Jonah Hex #50: Gray/Palmiotti/Cooke DC $3.99
I am a huge fan of Darwyn Cooke I loved his Spirit run so once I saw he was doing art for this issue I had to pick it up. I’ve been exposed to Hex before but I’ve never read a issue of the series. If the previous 49 issues were anything like this I might need to go back and read them. This issue was fantastic Gray & Palmiotti turn in a great story and Cooke’s art really makes it feel real. I normally wouldn’t come back and type up a review for a book that I couldn’t get the week before (Store only got 5 copies in) But this issue is in the running with The Walking Dead #57 as best issue of the year. Really amazing stuff!
Overall 10/10

Review Grouper

It's late I know
Jonah Hex #50: Gray/Palmiotti/Cooke DC $3.99
I am a huge fan of Darwyn Cooke I loved his Spirit run so once I saw he was doing art for this issue I had to pick it up. I’ve been exposed to Hex before but I’ve never read a issue of the series. If the previous 49 issues were anything like this I might need to go back and read them. This issue was fantastic Gray & Palmiotti turn in a great story and Cooke’s art really makes it feel real. I normally wouldn’t come back and type up a review for a book that I couldn’t get the week before (Store only got 5 copies in) But this issue is in the running with The Walking Dead #57 as best issue of the year. Really amazing stuff!
Overall 10/10

******

by ****** » Sun Dec 13, 2009 8:33 pm

I have a tendency to become suspicious when a book starts receiving this many 10s, but after finally reading it myself I am in total agreement that this was a perfect comic. It took me a while to get over the hype of Darwyn Cooke, but after Hunter and now this it's safe to say that he is one of my favorite artists working in comics today.

Story: 10
Art: 10
Overall: 10

******

I have a tendency to become suspicious when a book starts receiving this many 10s, but after finally reading it myself I am in total agreement that this was a perfect comic. It took me a while to get over the hype of Darwyn Cooke, but after Hunter and now this it's safe to say that he is one of my favorite artists working in comics today.

OMCTO

Old Man wrote:I've recently become allergic to much of the inking done by computer. Few inkers make it look natural (meaning how it's been for my entire life, thankyouverymuch; am I becoming too curmudgeonly?), and it's starting to nauseate me. Cooke's inking here looked too something for me. I'm guessing computer inking looks great on a computer screen, but I don't read comics on a computer.

I haven't seen the actual comic. But from the previews I saw, it looked to me as though the inking was done with a pen. Not a computer. In fact, some of the linework looks very reminiscent of Gil Kane's later work.

OMCTO

Old Man wrote:I've recently become allergic to much of the inking done by computer. Few inkers make it look natural (meaning how it's been for my entire life, thankyouverymuch; am I becoming too curmudgeonly?), and it's starting to nauseate me. Cooke's inking here looked too something for me. I'm guessing computer inking looks great on a computer screen, but I don't read comics on a computer.

I haven't seen the actual comic. But from the previews I saw, it looked to me as though the inking was done with a pen. Not a computer. In fact, some of the linework looks very reminiscent of Gil Kane's later work.

cheese

Eli Katz wrote:I haven't seen the actual comic. But from the previews I saw, it looked to me as though the inking was done with a pen. Not a computer. In fact, some of the linework looks very reminiscent of Gil Kane's later work.

cheese

Eli Katz wrote:I haven't seen the actual comic. But from the previews I saw, it looked to me as though the inking was done with a pen. Not a computer. In fact, some of the linework looks very reminiscent of Gil Kane's later work.

Founder of The Outhouse

Old Man wrote:And the much ballyhooed "outhouse cannon scene" took me out of the story. You see, a reader willingly suspends disbelief in order to let a story work. Anything that disturbs that suspension risks losing the reader. Such was the refrigerator scene in Indiana Jones IV. Took me right out of the movie. I was willing to let it go that someone might survive a blast inside a lead-lined refrigerator, but not the sailing through the air bit. He would have died from the force of the sudden acceleration or the sudden stop. (BTW, do you know why they pushed that movie as Indy IV? Because at his age, Harrison Ford needed an IV after every strenuous scene.)

Such was the cannon scene. There is just no way that you could sneak a cannon that close without making so much noise as to tip off any-and-every person in the area that you are doing so. Too. Much. Noise. Took me right out of the story.

I was thinking about that cannon panel and I got some of theories. First off, maybe the guy Jonah Hex killed lives in the town and there's a cannon owner in town. Thus, why no one, ncluding the victim, cares.

Secondly, it's Jonah fuckin' Hex. Is there really going to be many people willing to stop a notorious bounty hunter from his kill?

And lastly, the guy in the outhouse had a really bad case of diaherrea and only heard his bowels losing everything.

Founder of The Outhouse

Old Man wrote:And the much ballyhooed "outhouse cannon scene" took me out of the story. You see, a reader willingly suspends disbelief in order to let a story work. Anything that disturbs that suspension risks losing the reader. Such was the refrigerator scene in Indiana Jones IV. Took me right out of the movie. I was willing to let it go that someone might survive a blast inside a lead-lined refrigerator, but not the sailing through the air bit. He would have died from the force of the sudden acceleration or the sudden stop. (BTW, do you know why they pushed that movie as Indy IV? Because at his age, Harrison Ford needed an IV after every strenuous scene.)

Such was the cannon scene. There is just no way that you could sneak a cannon that close without making so much noise as to tip off any-and-every person in the area that you are doing so. Too. Much. Noise. Took me right out of the story.

I was thinking about that cannon panel and I got some of theories. First off, maybe the guy Jonah Hex killed lives in the town and there's a cannon owner in town. Thus, why no one, ncluding the victim, cares.

Secondly, it's Jonah fuckin' Hex. Is there really going to be many people willing to stop a notorious bounty hunter from his kill?

And lastly, the guy in the outhouse had a really bad case of diaherrea and only heard his bowels losing everything.

cheese

john lewis hawk wrote:I was thinking about that cannon panel and I got some of theories. First off, maybe the guy Jonah Hex killed lives in the town and there's a cannon owner in town. Thus, why no one, ncluding the victim, cares.

Secondly, it's Jonah fuckin' Hex. Is there really going to be many people willing to stop a notorious bounty hunter from his kill?

And lastly, the guy in the outhouse had a really bad case of diaherrea and only heard his bowels losing everything.

I'll concede that points 1 and 3 might work, but not 2. Then again, if I were in Jonah Hex's universe, he would already be dead.

cheese

john lewis hawk wrote:I was thinking about that cannon panel and I got some of theories. First off, maybe the guy Jonah Hex killed lives in the town and there's a cannon owner in town. Thus, why no one, ncluding the victim, cares.

Secondly, it's Jonah fuckin' Hex. Is there really going to be many people willing to stop a notorious bounty hunter from his kill?

And lastly, the guy in the outhouse had a really bad case of diaherrea and only heard his bowels losing everything.

I'll concede that points 1 and 3 might work, but not 2. Then again, if I were in Jonah Hex's universe, he would already be dead.

Outhouse Editor

Everytime I read this book, I wonder just why it is I am not reading this book. Of course, it helps that the last time I read it was for this group and also had art by the incomparable Darwyn Cooke. The creative team here is just perfect. Seriously, this would be a contender for DC if the three always worked on it together.

I don't like the design on Black. It's a little too perfect to have her be literally scarred like Jonah. I would have much preferred she just have an eyepatch.

As perfect as I think the creative team is and as good as this comic is, the first half of it took me a long time to get through. However many months it is from the date of release to right now, as a matter of fact. Even reading it and having it all come together, something is just off about the first half of the book. The bounty in this issue seems to be unnecessary, in fact, I would have much rather it just been about the two and Jonah's life was non existent while it focused on Black and the baby.

What is so surprising about the book is its feel. It really makes me wish that there had been some convergence of stars so that Eastwood could have been directed by Ford in an adaptation of this, Western fans know what I am asking for there and this is what this book feels like by its end... the perfect Western no one ever made.

It's just so epic in scope. It is almost exhausting to attempt to read in one sitting, which is surprising given the lack of words not only in the beginning sequence, but through out the story. Gray and Palmiotti know that Cook is a far better story teller than they and they use that knowledge to their benefit. However, it is clear that this is their story and as such, it is still a superlative example of what the medium should strive towards, even in its imperfections, it is perfect.

Given the emotional fortitude of the plot and the strong yet reserved characterization given Hex, Black and the town's sheriff, it would almost seem absurd to ask the script for anymore, but Abigal is a truly disturbing character, like Lennie from Of Mice and Men but with some venomous evil lurking beneath the dim exterior.

Not a masterwork, the book is better for its slight flaw. A breath taking a magical journey by a team that should work together more often

Outhouse Editor

Everytime I read this book, I wonder just why it is I am not reading this book. Of course, it helps that the last time I read it was for this group and also had art by the incomparable Darwyn Cooke. The creative team here is just perfect. Seriously, this would be a contender for DC if the three always worked on it together.

I don't like the design on Black. It's a little too perfect to have her be literally scarred like Jonah. I would have much preferred she just have an eyepatch.

As perfect as I think the creative team is and as good as this comic is, the first half of it took me a long time to get through. However many months it is from the date of release to right now, as a matter of fact. Even reading it and having it all come together, something is just off about the first half of the book. The bounty in this issue seems to be unnecessary, in fact, I would have much rather it just been about the two and Jonah's life was non existent while it focused on Black and the baby.

What is so surprising about the book is its feel. It really makes me wish that there had been some convergence of stars so that Eastwood could have been directed by Ford in an adaptation of this, Western fans know what I am asking for there and this is what this book feels like by its end... the perfect Western no one ever made.

It's just so epic in scope. It is almost exhausting to attempt to read in one sitting, which is surprising given the lack of words not only in the beginning sequence, but through out the story. Gray and Palmiotti know that Cook is a far better story teller than they and they use that knowledge to their benefit. However, it is clear that this is their story and as such, it is still a superlative example of what the medium should strive towards, even in its imperfections, it is perfect.

Given the emotional fortitude of the plot and the strong yet reserved characterization given Hex, Black and the town's sheriff, it would almost seem absurd to ask the script for anymore, but Abigal is a truly disturbing character, like Lennie from Of Mice and Men but with some venomous evil lurking beneath the dim exterior.

Not a masterwork, the book is better for its slight flaw. A breath taking a magical journey by a team that should work together more often